Distinctly influenced by Donald Judd and referencing De Stijl in an updated color palette of cerulean blue, mustard yellow and salmon pink, Andrea Zittel’s latest body of work, on view at Regen Projects in Los Angeles, is a suite of sculptural furniture pieces with exaggerated planes and dramatic right angles. Two woven tapestries (also picturing planes, intersections, and angles in their design), as well as beds, pillows, and wool rugs in some of the cubbies, lend warmth and usability to the powder-coated steel and aluminum furniture pieces. The structures are evocative of ultrachic office cubicles, or perhaps cozy respites in a high-design hotel lobby. Made to be displayed and used either indoors or out, the works also have an aura of the Bauhaus utopian ideal to them.

For more than two decades, Zittel has sought to comprehend our lived reality through the exploration of vertical and horizontal planes, and, more specifically, their intersections. The artist believes that these intersections — encountered daily at almost every moment in bus stop shelters, city streets, your morning coffee counter, tables and chairs, beds, office spaces, and in our homes — are the vital sites in which life takes place. These sculptures are just one locus of a two-part exhibition; ongoing and running concurrently to the Regen Projects show are cinder block structures that dot the landscape of A-Z West, Zittel’s more than 50-acre desert property in Joshua Tree — modern ruins against the desert landscape. Since 2000, Zittel has lived and worked at A-Z West, comprising an art studio, a weaving studio, encampments, and more. She opens up the property for residencies and to the public a few times a year to foster intersections not only of landscape, art, and architecture but also of community building, creative spark, and human experience.